首页资讯讲座｜盖迪米纳斯· 乌尔博纳斯：沼泽与新想象 --北京上美苑画室

讲座｜盖迪米纳斯· 乌尔博纳斯：沼泽与新想象 --北京上美苑画室

来源：爱乐趣网时间：2020年05月05日 10:21

原标题：讲座｜盖迪米纳斯· 乌尔博纳斯：沼泽与新想象 --北京上美苑画室

2018 列奥纳多艺术、科学与技术系列讲座

沼泽与新想象

Swamps and the New Imagination

讲者：

盖迪米纳斯· 乌尔博纳斯（Gediminas Urbonas）

主持：

王郁洋

日期：

2018年10月11日周四

时间：

18:30-20:00

语言：

英文（配中文现场翻译）

地点：

中央美术学院美术馆学术报告厅

联合主办：

中央美术学院艺术与科技中心、中央美术学院美术馆

合作：

列奥纳多/国际艺术、科学与技术协会

关于讲座

对我来说，希望和未来不在草坪和耕地，不在城镇，而是在不可渗透且震动着的沼泽中”，亨利·戴维·梭罗这样坚持，他喜欢书写关于湿地的文章并被它们书写。如今，在坚实土地上重新评估沼泽，并探索其复杂的互动网络，似乎远非“高贵野蛮人”和“回归大自然”的浪漫陈词滥调。我们无法回到沼地，因为没有客观确定的环境让我们回归。本能和自然的行为不能解除我们的文明，而是引发对社会和文化压迫所产生的同我们自己和在我们内部的冲突和不满。

沼泽的挑战并非在于重新发现我们的真实身份，而在于面对我们超越了人类作为与世隔绝的生物的内在混杂性。模糊了人与自然之间的界限，沼泽促使我们重新想象后人类转向中我们的关系和潜在交换。按照拉图尔的说法，正如我们从来没有现代过，沼泽夜从未消失：它们存在在背景里，作为不同生命形式的无形共生，作为元素和有机物的相互作用，作为我们被诋毁的前现代潜意识的一部分，我们的城市化的恐惧和噩梦般的梦想的一部分，其标明了暴露于未知的危险并将对诡异的迷恋和反对引诱入水样流动。

那么沼泽如何促进我们的思考？湿地以何种方式激起我们压抑的想象力？鉴于每个建设都从土地开垦开始，沼泽如何使建筑受益？众所周知，许多城市本身都有着沼泽地的过去和不确定的未来。 “浮动城市”是通过利用木桩和平台的坚实基础来稳定湿地的动态环境而建造的。但是，沼泽并没有停止存在。他们只是从内部殖民了城市，就像他们的结构介入水域一样。

沼泽与新想象批判性审视如今对物质的再发现的结果，并通过与非物质性的相互作用不断开放自己。本报告旨在建立一个话语空间，不仅质疑作为组织身份和现实之手段的领土分布，还设想了非物质性在非人类的转向和种间对话时代的作用。沼泽既是一个多元化的共生关系的场所，也是一个想象的场所，促进与可能的未来的对话。

关于讲者

盖迪米纳斯· 乌尔博纳斯（Gediminas Urbonas）是麻省理工学院（MIT）建筑系艺术、文化与技术研究生部副教授，他是一个艺术家、教育家，还与诺米达·乌尔博纳斯（Nomeda Urbonas）共同创立了乌尔博纳斯工作室（Urbonas Studio），该工作室从事跨学科的研究实践，以促进多样化的知识生产和艺术实践的节点之间的交流，探索对城市空间和集体想象的转化。他们在实践中将新旧媒体相结合，通过集体性创造活动来推助跨学科的交流：网络和参与性技术；感官媒介和公共空间；环境修复设计和空间组织；整合设计规划方案。他们还与不同文化领域的专家合作，发展出基于实践的艺术研究模式，使得参与者（包括他们的学生）能够尝试一些将都市主义、新媒体、社会科学、教育学相融合的项目，并批判性地思考城市空间和生态的转变。

乌尔博纳斯曾参加圣保罗、柏林、莫斯科、里昂、光州双年展，以及宣言展和卡塞尔文献展。此外还包括其它许多国际性展览，如在威尼斯双年展和巴塞罗那当代艺术博物馆举办的个展。他的作品曾荣获多个高级别奖金及驻留奖项，其中包括立陶宛国家奖（2007）、光州双年展的最佳国际艺术家奖（2006）以及威尼斯双年展的最佳国家馆奖（2007）。

乌尔博纳斯是“Transaction Archive”的联合创始人以及“Pro-test Lab Archive”的联合总监。他从事将艺术研究作为对社会与政治危机的干预这一方面的写作，曾出版书籍《行动的设备》（Devices for Action ，巴塞罗那当代艺术博物馆出版社，2008年）和《立陶宛别墅》（Villa Lituania，Sternberg出版社，2008年）。他所联合编辑的《公共空间？失而复得》（Public Space? Lost and Found，麻省理工出版社，2017年）一书，将艺术家、规划者、理论家和艺术历史学家聚在一起，探讨了公共空间的创造与使用以及公共艺术在其中所扮演的角色三者之间复杂的相互关系。

乌尔博纳斯在生态诗学（zooetics）上历时五年的研究项目，探索了在全球生态失衡的背景下，动物行为学与非人类生命的认知学以及诗学之间的潜在联系。他这项研究于2018年在麻省理工学院的研讨会上结束，继而开启了一个研究“共生”（sympoiesis）的新项目。目前，乌尔博纳斯正在筹备即将在2018年第16届威尼斯建筑双年展上呈现的的“'沼泽学校'——未来的学习环境”(“Swamp School”–future learning environment)。

Leonardo Art, Science and Technology Lecture Series

Swamps and the New Imagination

Speaker:

Gediminas Urbonas

Introuduce by

WANG Yuyang

Date:

10.11.2018

Time:

18:30-20:00

Language:

English (with Chinese interpreting)

Venue:

CAFA Art Museum Lecture Hall

Co-organized by CAFA Center for Art and Technology, CAFA Art Museum

In collaboration with Leonardo / ISAST

About the Lecture

“Hope and the future for me are not in lawns and cultivated fields, not in towns and cities, but in the impervious and quaking swamps”, maintained Henry David Thoreau, who loved to write about wetlands and to be written by them. Today, revalorising the swamp over solid ground as well as exploring its complex web of interactions appears to be far from the romantic clichés of ‘Noble Savage’ and ‘Back to Nature’. We cannot get back to the marshes, as there is no objectively fixed environment we are to return to. The instinctive and natural behavior cannot undo our civilization, but rather provokes the conflict and discontent with(in) ourselves derived from social and cultural repression.

The swamp challenge is not about re-discovering our true identity, but rather about meeting with our intrinsic hybridity that transcends the human as a hermetic organism. Blurring the line between human and nature, the swamp prompts us to reimagine our relationships and potential interchange in the posthuman turn. Just as, along Bruno Latour’s lines, we have never been modern, the swamps have never disappeared: they have been in the background as an invisible symbiosis of different forms of life, as an interaction of elements and organisms, as a part of our denigrated premodern subconscious, of our urbanized fears and nightmarish dreams that signal the exposure to the danger of the unknown and induce into watery motion both objection and attraction to the uncanny.

So how do swamps foster our thinking? In what ways do the wetlands provoke our repressed imagination? How could swamps benefit architecture, given that every construction starts from land reclamation? As we know, many cities themselves have a swampy pasts and uncertain futures. The “floating cities” were built by applying solid foundation of wooden stakes and platforms to stabilize the moving environment of the wetlands. However, swamps did not cease to exist. They just colonized the cities from within, the same way their structures intervened into the waters.

Swamps and the New Imagination embarks upon a critical examination of the outcomes of today’s rediscovery of matter which constantly opens up itself through interplay of immateriality. The presentation intends to set up a discursive space not only questioning the distribution of territories as a means of organizing identities and realities, but also to envision the role of immaterial in the age of non-human turn and interspecies dialogue. A swamp is both a place for manifold symbiotic relationships, and a locus of imagination, fostering the dialogue with possible futures.

About the Speaker

Gediminas Urbonas is artist, educator, and co-founder of the Urbonas Studio (with Nomeda Urbonas), an interdisciplinary research practice that facilitates exchange amongst diverse nodes of knowledge production and artistic practice in pursuit of projects that transform civic spaces and collective imaginaries. Combining new and old media, their work frequently involves collective activities contributing to the cross-disciplinary exchange between several nodes of knowledge production: network and participatory technologies; sensorial media and public space; environmental remediation design and spatial organization; and alternative planning design integration. They also collaborate with experts in different cultural fields to develop practice-based artistic research models that allow participants—including their students—to pursue projects that merge urbanism, new media, social sciences and pedagogy to critically address the transformation of civic space and ecology.

Urbonas have exhibited internationally including the São Paulo, Berlin, Moscow, Lyon, Gwangju, Busan Biennales, Folkestone Triennial – and Manifesta and Documenta exhibitions – among numerous other international shows, including a solo show at the Venice Biennale and MACBA in Barcelona. Their work was awarded a number of high level grants and residency awards, including the Lithuanian National Prize (2007); a Prize for the Best International Artist at the Gwangju Biennale (2006) and the Prize for the best national pavilion at the Venice Biennale (2007).

Urbonas are co-founders of Transaction Archive and co-directors of the Pro-test Lab Archive. Their writing on artistic research as form of intervention into social and political crisis was published in the books Devices for Action (2008) by MACBA Press, Barcelona and Villa Lituania (2008) by Sternberg Press. Urbonas co-edited Public Space? Lost and Found (MIT Press, 2017) that brings together artists, planners, theorists and art historians in an examination of the complex inter-relations between the creation and uses of public space and the roles that public art plays therein.

Urbonas 5 year-long research project on Zooetics exploring the potential to connect with the noetics and poetics of non-human life in the context of the planetary ecological imbalance, concludes in 2018 with the symposium at MIT and opens a new research program focusing on sympoiesis. Urbonases are curating the “Swamp Pavilion” – future learning environment at the 16th Venice Architecture Biennale 2018.

Gediminas Urbonas is a professor in visual art at the MIT’s Program in Art, Culture and Technology, School of Architecture and Planning, Massachusetts Institute of Technology.

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